Beats Electronics' Digital Music Development

Beats Electronics, maker of the elite line of headphones, Beats by Dr. Dre, has recently announced its plans to launch a revolutionary, new digital music service that is comparable to popular digital music distributors and streamers such as iTunes, Pandora and Spotify. While un-welcomed by most competitors, the announcement was "music to the ears" of many artists, songwriters and recording industry professionals. This innovative, subscription-based digital music service will provide subscribers with a listening atmosphere that is generated through mathematical algorithms, listening patterns, user-generated content and professionally constructed playlists. 

Unlike most popular online music streamers, Beats Electronics' proposed digital music service will simultaneously link listeners to related music merchandise, concert dates and artists' social media platforms, without ever interrupting the stream of seamless, recommended tunes. By integrating music retail elements, concert tickets and social media components, Beats Electronics will be able to create an interactive listening experience that allows artists and fans to communicate in real-time. Slated to cash in at around $10 per month, the service's subscription rate will be priced to compete with other existing digital music providers. 

Beats Electronics' CEO, Tim Rogers, is excited about their team's progress with the digital music service and the associated opportunities that the service could afford to a struggling recording industry. “These guys have the ingredients to build a mainstream subscription service that’s going to reach huge numbers of people and have that emotional connection that we all want music to have in the digital age,” said Rogers.

As previously mentioned within this blog, it is my opinion that an industry-wide embrace and employment of digitally geared music distribution and social media platforms will equate a more profitable, successful music and recording industry in the years to come. Innovative technological advances such as Beats Electronics' upcoming digital music service simply illustrate the magnitude of the digital revolution that is currently occurring within the music industry. As I suggested earlier, the recording industry can either embrace the digital transition or suffer the consequences, which will most likely amount to them evolving into a mere figment of music tradition. 

Regardless of whether existing digital distribution platforms such as the highly debated online music retailer, iTunes, are the "ideal listening environment," the statistics do not lie; digital distribution is the "wave of the future." For example, the digital music market, as a whole, currently generates nearly $1 billion in revenue. With the opportunity for simultaneous digital music streaming, music merchandising, concert sales and increased social media engagement, it appears that digital music revenue will continue to increase in the near future. The recording industry, as a result, simply cannot afford to "overlook" the impact of the eminent digital revolution. 

For more information regarding Beats Electronics' new digital music service, please click on this link. Please leave a comment and let me know which digital music provider you prefer (iTunes, Pandora, Spotify, Rhapsody, Deezer, Xbox Music, Muze or etc.)!

On the Record: Jamey Johnson

This week, I would like to introduce a new blog segment entitled "On the Record." Each edition of "On the Record" will feature a review of a new or existing artist or album that has recently piqued my curiosity, and I also feel is worth sharing with everyone. Although these reviews are strictly based on my personal preference and opinion, I thought it might be a convenient way for readers to consume vast amounts of music and, as a result, expand their musical repertoire without ever having to listen to individual songs. 

This debut edition of "On the Record" features the music and vocal stylings of country music and Mercury recording artist, Jamey Johnson. Although Johnson originally signed with BNA Records in 2005 to record his first album, "The Dollar," he was later picked up by Mercury Nashville Records, where he currently resides. It wasn't long after his switch to Mercury that the Alabama-bred Johnson received his first top ten hit with the song "In Color." Scarred by failed recording contracts and marriages, Johnson unwaveringly continued to hone his gritty, rustic vocals and natural songwriting abilities. 

When Johnson's self-penned songs travelled to the tops of the charts by way of George Strait, Trace Adkins and Joe Nichols, it became clear that Jamey Johnson was "in it for the long haul." Known for his take-no-prisoners, traditional country sound, Johnson has successfully produced three studio albums since his run out with BNA records. Johnson's albums that are featured below are three of my favorites and I, personally, believe they are worth a listen. 

1. "The Dollar"- released in January of 2006

"The Dollar," Johnson's debut album, was a subtle introduction to his signature outlaw sound that, in years to come, would bring him much fame and notoriety. With obvious standouts such as "She's All Lady," "Redneck Side of Me" and "It was Me," the album, as a whole, seems to be a solid, consistent debut album that showcases Johnson's signature, modern-day outlaw sound. Until listening to the album's final track, I had already surmised that the album was decent, but maybe not "exceptional." But when the album's final cut, "Lead me Home," began to pulse through my speakers, I quickly changed my opinion of Jamey Johnson. I know, it's just one song... But really, it isn't. The vocal inflection- resounding wisdom far beyond his years- that Mr. Johnson delivers on "Lead me Home" is truly inspiring, even despite the song's equally inspirational text and subject matter. Mark my words, "Lead me Home" will be played as a tribute to lost loved ones for many, many years to come. 

2. "That Lonesome Song"- released in August of 2008

Johnson's sophomore album, "That Lonesome Song," was his first studio album as a Mercury Nashville recording artist. Considerably more true to form than his debut album, Johnson finally lets us get a glimpse of who he is as an artist. Developing a sound that is comparable to only his outlaw predecessor, Waylon Jennings, Johnson delivers a rock-solid album that gives us but a taste of his traditional sound and vision. Noteworthy tracks such as "Mowin' Down the Roses," "The Last Cowboy," "Dreaming my Dreams of You" and the title track, "That Lonesome Song," would have been enough to support a quality album, however, that wasn't enough for the ambitious Jamey Johnson.  The featured track, "In Color," is a hair-raising tribute to war veterans and their families that will leave you searching for the nearest tissue. Resulting in Johnson's first top ten single, "In Color" verbally depicted everything that the former marine singer-songwriter wanted this world to acknowledge him by.

3. "The Guitar Song"- released in September of 2010

An established artist by now, Johnson's third studio album, "The Guitar Song," resulted in a mature, unabashed reflection of the "traditional country sound" that so many famous country icons before him had so tirelessly toiled to establish. A trail-blazing dual concept album that delivers a substantial 25 studio tracks, "The Guitar Song" is a contemporary honky-tonk compilation that illustrates Johnson's evident personal security as an artist. Johnson makes no apologies for his twangy, traditional country sound and unique image throughout the album. Notable tracks such as "Cover your Eyes," "Poor Man Blues," "That’s How I Don't Love You," "Macon" and "My Way to You" depict a well-rounded side of Johnson that isn't afraid to be honest or vulnerable. The raw, stripped-down delivery demonstrated in "That’s Why I Write Songs" is truly moving and representative of Johnson's rare vocal talent. 

Johnson's raw, gritty vocals and unabashed writing abilities will leave you begging for more after listening to these three albums. If you like what you heard during this edition of "On the Record," you can check out Johnson's music on iTunes or at your local music retailer. Leave a comment and let me know what YOU think about these featured albums. Stay tuned for more music industry public relations tips and future editions of "On the Record."

-All image rights are reserved to Jamey Johnson and Mercury Nashville Records-

Go Digital or Go Home

Sorry it has been so long since my last blog, graduate school has quite the knack for getting in the way of life outside the classroom. In my last post, I discussed a few of the issues and opportunities that have rolled in on the coattails of a seemingly daunting digital music age. Today, I would like to elaborate a little more upon this fundamental paradigm shift within the music industry and, ultimately, suggest a few strategies for turning this "virtual threat" into a "virtual opportunity." 

Regardless of whether or not the music and recording industry chooses the "fight or flight" approach to digital distribution, the trend is obviously here to stay. With this in mind, it seems as if the choice is an obvious one. In the beginning of the digital transition, the recording industry was extremely apprehensive and, often times, close-minded to the new technological advances. In the recording industry's defense, however, the transfer from retail to digital was quite an intimidating transition at the time, and it seemed as if it would eliminate a large majority of their diminishing profit margin. 

Over the years, the recording industry began to realize that digital music distribution was something that they simply could not ignore. The dreaded iTunes, iPod and iPhone were here to stay, no offense Apple. After much reflection and restructuring, the music industry now understands and values the vast opportunity that lies amid the land of social media, infinite domain names and virtual music libraries. 

However, with much opportunity comes much challenge. Although the chance for virtual exposure and unprecedented sales has rapidly increased, the availability and accessibility of music has also increased with digital distribution. This means that recording labels are able to offer music dating back as far as they can remember, as well as the albums that were made since the integration of the iPod and the cellphone. Some early adopting recording labels and artists have transitioned to strictly digital distribution, meaning a physical copy (CD) of their music simply does not exist in any retail store.

Digital music distribution has also brought about a unique purchasing alternative for the music consumer that allows them to purchase individual songs from an album without purchasing the entire 10 to 12 song album. For consumers, it allows them to purchase the songs that they really want without being tied down to the entire album. For recording label executives, however, it means that consumers are able to spend anywhere from $1 to $5 getting what they really want, and the standard $9 to $15 album is virtually out the cyber window. 

What does this mean for the recording industry? No more filler songs on albums. Every single song cut has to stand on its own two feet, because that is exactly how it will be evaluated by the listener, all "on its own." Select loyal music consumers will still purchase the entire album, if it's a good one, but the majority will evaluate each song individually to determine if it is worthy of the 99-cent price of admission. 

Personally, I believe that this concept of song individualism is a healthy change for the music industry. Now, maybe we can get our hands, or shall we say our mouse pads, on some albums that are consistently good from cover to cover. 

The digital music transition that the recording industry could not foreshadow so many years ago has now turned into a land mine of opportunity, revenue and infinite success. Despite our love loss over the tangible record, we understand that digital is, indeed, an opportunity for success and not a threat to the recording industry's legacy and legitimacy. 

What Music Industry?

As a rookie blogger, it has taken me a little while to get accustomed to this whole concept of broadcasting my thoughts to the entire world. Although I sincerely doubt the majority of the blogosphere is even remotely interested in this blog's topical content, the idea of my personal opinions being etched in virtual “hyperlinked stone” is quite intimidating to a writer/journalist by trade. All apprehension and personal constraint aside, I determined that the best plan of action would be to simply rip the proverbial “cyber Band-Aid” right off.

If you have had a chance to read my introductory post or check out my About Me section, you have probably already gathered that I am a public relations practitioner by trade, and a music industry enthusiast by choice. Although my specialty is crisis communication and reputation management, very little of my educational background has anything to do with the music or entertainment industry, aside from a minor in Vocal Performance during my undergraduate work. My fascination with the music and recording industry stems from a childhood devoted to mastering every musical instrument in sight, honing my vocal chops and developing a deeply-rooted appreciation for timeless, traditional music that was far beyond my adolescent years.

It was that same devotion to music and the preservation of the traditional recording industry that prodded me to attend graduate school. I already knew that southern Mississippi’s educational opportunities would lend me nowhere near the master’s degree in music business that I had always desired. However, I determined that I would settle for a degree that was closest to music business and would, hopefully, one-day get my “foot in the door” down on Music Row. The next best degree, in my mind, that would help me to advance my career in the music industry was public relations and communication. Bare with me, I promise I’m getting to the point…

As I started to form and mold my research interests while attending graduate school at the University of Southern Mississippi, I began to realize the significant lack of research dedicated to the unidentified and unexplored research chasm, more commonly known as the music and recording industry. Sure, there were stacks upon stacks of hardbound books in the library covering the ins-and-outs of the recording industry, but they were all dated back to the 70s and 80s when the music industry was booming. With the occasional exception from 1990, there was virtually no substantial recent research to be found on the music and recording industry. Where were the peer-reviewed journal articles and trade publications that can be found, at the touch of a keystroke, for almost every other legitimate profession?

The answer was simple. They did not exist. While I was writing my first formal graduate research paper concerning public relations and its impact on the music industry, I literally thought I was going to pull out my hair when trying to compile academic sources for a proper literature review. Why? There simply were not any appropriate sources available. There may have been an occasional journal article written concerning music, but they rarely addressed the inner-workings of the recording industry or its methods of artist publicity and record promotion.

Why is there such a lack of current academic sources concerning the music and recording industry? I believe that the recording industry, as a whole, has grown silent in light of a daunting new digital music age that has granted consumers unlimited access to music through digital online libraries, like Apple’s iTunes for example. These so-called “digital music libraries” have, one-by-one, silenced traditional recording labels by threatening the very legitimacy of the recording label itself and, as a result, virtually silencing their professional voices. As a result, the music and recording industry has amounted to nothing more than a tribute and faint reminder of a once powerful and influential industry mogul.

The good news: the music industry does not HAVE to remain silent. Instead, the music and recording industry must learn how to empower itself by reinventing its traditional methods of distribution and promotion in light of an increasingly digital music market that is, most definitely, here to stay. In my next post, I will elaborate more on this eminent crisis within the recording industry and offer a few suggestions that will help the music industry learn to embrace, instead of fear, this new digital music revolution.